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Themes of class & starvation in Godot are recontextualised within the barren performance site, creating allusions to the Irish Potato Famine. This use of site, as audience questionnaires attest, invites audiences to bring their own memories, knowledge & feelings to the meaning-making process

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Curran traces the archival presences of these photographs, which documented Sullivan's interventions into abandoned cottages on Great Blasket & argues for their historical, material & affective dimensions, foregrounding the complex & distributed dynamics of affect that circulate around/through them

According to Curran, Sullivan (1923– ) is relatively unknown outside of her native Québec and Canada, but in an exceptionally long and experimental career, has made work as a painter, dancer, sculptor, performance artist and conceptual artist.

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The essay explores how choreographic movements & the dancers’ embodiment foster a kinaesthetically empathetic co-presence between the performers and audience, and injects liveness into the archive.

Yang examines how the narrative episodes create contact zones between the historical and the contemporary. Motifs of gender, religion, emigration/immigration & social class, among others, oscillate intersectionally via the dancers’ bodies, which disturb cultural inscriptions & generate new meanings

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Gillett also points to one of the currach's current places in ecocritical art practice: as a mediator between human and sea, and a locus for an embodied experience – not of heroism, but of powerlessness.

Gillett considers the currach's transition from a symbol of 'authentic' Irish identity and masculine heroism to a tool for the critique of essentialised Irish identity as well as gendered and environmental issues in the Irish context

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Torres-Fernández analyses the role of intimacy in the company's dance theatre piece, Party Scene: Chemsex, Community & Crisis (2022), created by Philip Connaughton & Phillip McMahon, arguing that it plays a fundamental role in the production's reconceptualisation of social norms

Churchill's essay ‘Domestic Documents: Contemporary Photography and the Irish Housing Crisis’ is part of the special issue of Irish University Review published in May 2025: Irish Studies – Beyond the Text.

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Morales-Ladrón argues that Emma Donoghue's Haven explores a colonial appropriation of mind & land in the name of God, with characters ultimately disturbing the 'haven' of biodiversity on Skellig Michael. She argues that Haven critiques the Anthropocene & anticipates a post-Anthropocene Earth

Lonergan conceptualises the Covid-19 pandemic as an allegory for future ecological crises, with Irish drama acting as a dress rehearsal for climate change. He points to how artistic responses accelerated their thematic preoccupations during this period, focusing on the non-human #IASIL2025

Little interrogates carceral memory, tracing efforts to screen coercive confinement in Ireland (1971–1999) & arguing that historical accounts must consider its remediation across technologies. He ends by noting the importance of accounting for this history to prevent modern Irish carceral abuses